I got wind-hosed at Rockygrass this year. The wind was horrible and I had not recorded outdoors in a while so I forgot my big ass DPAs and dead wooks. I haven't had the juevos to listen to any of it yet since I am pretty sure what I walked away with. (rumble-rumble!)

With that said I am considering a pair of omni's to run into channels 3 & 4 as "back ups" in a CYA effort. When I say "no budget" please take it with a grain of salt. It means that I'm cool with some OM1's but might also be willing to part with my CCM4 pair to get some CCM5's.

I am interested in opinions. I also have a pair of KM100 bodies so AK30's are not totally out of the picture.

An omni you are able to run in the optimal configuration is going to be far better than one you can only run in a compromised configuration.

I'm partial to DPA 4060/4061. For me they represent an omni price/performance sweet spot. But in addition, and for the reason stated above, their super small size and minimal weight is crucial because I could not otherwise achieve an appropriate spacing configuration supported by a single stand when open recording outdoors, at least not easily in a visually unobtrusive way. For two-channel use alone outdoors, I'd space omnis no less than 3'. If they are to be mixed with a center microphone or microphone pair, better to space them 5 or 6' (basically double the spacing used alone).

A higher quality omni, used in a compromised setup with less A-B spacing, will be a step backwards rather than upwards in the quality of the resulting recording.

Yes, that's the basic truth of it of course as long as something listenable is good enough. I just figured that was assumed. Since he's considering using high-quality omnis, I was attempting to make a finer distinction of noting a correlation between the ability of achieving an optimal configuration verses mic quality, and the effects of that relationship on the resulting recording. With the goal being best possible recording rather than just getting something listenable which isn't swamped in wind rumble.

I should pull out my Schoeps MK2s>RBox recordings from Rockygrass 2006. (Yes, MK2s not MK2) The omnis were split about 25' and I feel confident that Davery and I walked away from the festival that year with some of the best sounding ambient recordings.

Having run MK5 in omni mode alongside MK4Vs, I continue to be of the belief that for stereo recording at a distance (such as at a music festival), omnis are an inferior option. Meaning, maybe the CCM5 makes the most sense -- you get the nice HF bump, and you can run omnis in a pinch or in whatever other situations (up very close) they might be preferable. I wouldn't delve into a completely different mic system just to have a CYA option.

^ The MK5/CCM5 is a single diaphragm microphone and operates as a "true pressure transducer" in the omni setting. The capsule setting differences are purely mechanical, unlike the dual diaphragm mics out there.